“When I shoot films, the tension between the story and abstraction is key, because I’ve learned cinema watching films made by painters: their way of reworking cinema, rather than following the traditional rules that govern it. For me it’s never been a question of figuring out what the industry wants you to do or not to do—and my preoccupations are still the same“.
This statement by Gus Van Sant introduces the first French exhibition devoted to his work which is on view at the Cinémathèque until July 31.
A filmmaker, photographer, painter, and visual artist, Gus Van Sant is presented here in his protean artistic universe and in an atmosphere of creative intimacy.
The first exhibition room, whitewashed and titled “Photography,” houses several series, including Cut-Ups, Hanson, rigorously framed in black-and-white 24×36 format, and Polaroid enlargements featuring William Burroughs and David Bowie. There is a large collection of Polaroids from 1983–1999 mounted inside a white square case and illuminated from the top. The diffused light intensifies the humane, classical aspect of the portraits, underscoring the gentle relationship between the photographer and his model.
Whether they show celebrities or anonymous subjects, the photographs are direct, natural, and enhanced by the photographer’s neutrality or empathy.
Adjoining this larger hall is a small, dark room, where we discover Gus Van Sant’s biography and three small screens showing clouds. Screens are a recurring feature of the exhibition, reminding us that the filmmaker is a brilliant director of mainstream films as much as an author of indie masterpieces. Abstraction, poetry, attentiveness to the body and to youth testify to a potent vision.
The “Constellations” room, painted in shades of white that bring out the wood grain, evokes something between a museum and the underground. Once again, the décor goes perfectly with Gus Van Sant’s universe: film set photos, shots of actors, documents, the original storyboard from Mala Noche, poster designs, including the fascinating diagram drawn in colored markers showing the progression of characters in the movie Elephant: the film’s blueprint comes to life before our eyes.
The third room, “Painting,” painted classic white, unpretentiously presents Gus Van Sant’s watercolors, collages, silkscreen prints, and mixed media work, before ushering us into the darkness of the final room devoted to “Music.” Yet again, Gus Van Sant shares with us one of his experiments.
Before exiting the exhibition, we might glimpse an anonymous inscription in the guest book: “Very understated but my fav show at the cinémathèque, thanks GVS.”
EXHIBITION
Gus Van Sant
Exposition & Films
From April 13th to July 31st, 2016
Cinémathèque Française
51 Rue de Bercy
75012 Paris
France
http://www.cinematheque.fr
